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DTSTART;TZID=America/Indiana/Indianapolis:20260206T080000
DTEND;TZID=America/Indiana/Indianapolis:20260318T150000
DTSTAMP:20260404T115647
CREATED:20250801T134345Z
LAST-MODIFIED:20260319T203410Z
UID:13661-1770364800-1773846000@www.bigcar.org
SUMMARY:Pavlina Vagioni: AVÁSIMO (BASELESS)
DESCRIPTION:Friday\, Feb. 6 – Wednesday\, March 18\, 2026 | Tube Video Gallery\n\n\nStock market data from the 2008 financial collapse — Dow Jones\, Nikkei\, Nasdaq\, and S&P 500 — is translated into a musical score. An electronic female voice\, processed through vocoder\, follows the score with precision. The voice is feminine\, like the voices designed to assist us\, to serve\, to comply. When algorithms are built to help\, they are so often given women’s voices. The system speaks through the voice it expects obedience from. A human voice enters\, not in obedience but in lament. It responds to the data\, departs from it\, grieves what the numbers cannot feel. It exists within the system while refusing to be ruled by it. The video displays symbols from the Phaistos Disc\, an undeciphered Minoan script possibly from a matriarchal Bronze Age society\, now scrolling in the format of a stock ticker: ancient mystery conscripted into capitalism’s visual language. Beneath the voices\, a sustained drone sounds: the ison of Byzantine chant tradition\, a single fixed pitch that served as tonal anchor for sacred music. Here it becomes the cost basis\, the entry point\, the fixed reference against which all market movement is measured\, the illusion of stable ground in a system without foundation. Matriarchal symbols forced into patriarchal economic display. Female robot voice obeying the algorithmic score. Human female voice refusing\, responding\, lamenting. The drone continues beneath it all\, as cost basis always does\, indifferent to what rises or falls above it. At the close\, the human voice fades; the machine inherits its tremor. Nothing holds still. Avásimo: without basis. The ground was never there.\n\n\n2026\, Single channel audio & video animationAudio duration: 3’17”\nConcept\, Artistic Direction: Pavlina VagioniOriginal Score: Audra Verona LambertArrangement & Transcription: Pavlina VagioniVocoder & Electronic Processing: Vangelis YalamasVocals: Pavlina VagioniMixing: Vangelis YalamasVideo Animation: Tasos Tsiaboulas\n\n\nAbout the Artist: Pavlina Vagioni is a Greek-born interdisciplinary artist based in Houston\, TX\, whose work spans sculpture\, painting\, sound\, and digital art. She has exhibited at notable venues across the US and Europe\, including the Byzantine Museum\, Hellenic American Union\, Kappatos Gallery (Athens)\, TANK Space\, Lawndale Art Center (Houston)\, Carillon Gallery (Fort Worth)\, and Opening Gallery (New York). Vagioni completed a residency at the School of Visual Arts and created a public art project at Houston’s ION Building. Her work is recognized internationally and held in multiple private and public collections\, including the MOMus–Museum of Contemporary Art (Thessaloniki\, Greece).
URL:https://www.bigcar.org/event/avasimo-baseless-pavlina-vagioni/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20260206T180000
DTEND;TZID=America/Indiana/Indianapolis:20260218T150000
DTSTAMP:20260404T115647
CREATED:20260114T195119Z
LAST-MODIFIED:20260120T152436Z
UID:14232-1770400800-1771426800@www.bigcar.org
SUMMARY:Stephanie Williams: Common Matter
DESCRIPTION:Guichelaar Gallery | Feb. 6 – 18\, 2026 \nStephanie Williams’ exhibition Common Matter brings together ceramic wall sculpture and framed photography to trace the repeating structures that appear across nature and human design. The show includes modular ceramic forms that shift between geometric and organic designs\, alongside photographs which explore cosmic patterns at the microscopic level. Across mediums\, the work invites viewers to look closely at how familiar patterns emerge at different scales\, from crystalline structures to engineered surfaces. \nWilliams explores the idea that the universe is built from recurring visual and mathematical “rules” that show up in both organic building blocks and artificial systems. The work considers proportion and measurement as a universal expression of those “rules” (including spiral and growth patterns associated with the Fibonacci sequence) and asks how the macro and the micro mirror one another. \nThis body of work is informed by diverse influences\, from historical cosmologists such as Johannes Kepler to Williams’ daily encounters with the patterns embedded in the world around her. Over time\, she has become increasingly interested in how micro-patterns replicate themselves in both large and miniature form\, and how humans often echo these same micro-patterns in their design\, technology\, and impulse to create. \nWilliams’ studio practice is rooted in ceramics\, using a combination of throwing\, handbuilding\, and slipcasting. The photographic work extends the investigation of her exhibition’s thematic concepts through digital microscopic imagery and black-and-white analogue film. \nUltimately\, Common Matter asks viewers to reflect on their existence within the universe and their relationship to it at a fundamental structural level. In the spirit of Carl Sagan’s observation that humanity is “a way for the universe to know itself\,” the work suggests that the patterns we notice (and the ones we recreate) are not separate from us\, but part of what we are. \nAbout the artist\nStephanie Williams is an Indianapolis-based artist in Big Car Collaborative’s CAMi Long-Term Artist Residency program. She graduated from the Herron School of Art and Design in 2019 and has exhibited in a variety of spaces and galleries across Indiana. Williams has worked at American Art and Clay Company (AMACO) going on ten years.
URL:https://www.bigcar.org/event/stephanie-williams-common-matter/
LOCATION:Contempory Art Museum of Indianapolis (CAMi)\, 1125 Cruft St\, Indianapolis\, IN\, 46203\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20260206T180000
DTEND;TZID=America/Indiana/Indianapolis:20260315T150000
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SUMMARY:Blue Blood: Félix Labisse's Goddesses\, Demons\, and the Space Between
DESCRIPTION:Friday\, Feb. 6 – Sunday\, March 15 | Tube Main Gallery \nFrench Surrealist Félix Labisse created something strange starting in the 1960s: a universe where women pilot impossible machines through realms that don’t follow normal physics. His iconic blue women — the “Selenides” — are warrior goddesses. And they’re navigating more than space. They move through desire\, mythology\, and what might be parallel dimensions of time. \nOn the south wall of the gallery are three pieces from Labisse’s Selenide series: La Femme avec un couteau (The Woman with a Knife)\, La Reine de Saba (The Queen of Sheba)\, and Judith\, referencing the stories and myths behind each warrior. \nOn the east and west walls are 16 prints from his Histoire naturelle series (1944)—hybrid creatures blending human\, animal\, and vegetable forms\, each with Labisse’s own descriptive poems. These fantastical beings prefigure his later libidoscaphes (1962)\, desire-vessels that merge spacecraft with sexual organs and mythological beasts\, navigating inner realms of “inadmissible desires masked by propriety.” \nPart Jules Verne\, part surrealist fever dream\, part absurdist comedy\, Labisse uses consciousness itself as a vehicle for traveling through forbidden dimensions where eroticism could actually warp reality. The nudity of Labisse’s female subjects is an armor. These women are preparing — for ceremonies\, for magic\, for battle. Their landscapes exist nowhere and everywhere at once: moon\, ocean\, future city\, ancient temple. Set in mythic space\, the women are real–piloting libidoscapes\, navigating time\, and fighting wars. Labisse enables us to see them through our own myths and knowledge of history. And imagine that perhaps because we see them\, they are real. Imagine they are waiting\, blue-skinned and patient\, for the rest of us to catch up. \nLabisse connected to science fiction\, painting and drawing what he imagined. But in his work can be found an idea more radical—that artists might actually access non-linear temporal streams\, tapping into futures and parallel timelines. \nAbout the Artist \nFélix Labisse (1905-1982) was a painter\, illustrator\, and theater designer who transformed mythology into what he called a “personal demonology.” Born in Northern France\, he spent his early years in Douai and later Ostend\, Belgium\, where he met his mentor James Ensor while studying at the École de Pêche. \nHis childhood shaped everything: the Gayant carnival with its giant mannequins\, living through WWI occupation from ages 9-13\, and obsessively reading 19th-century science fiction. By 1933 he’d moved to Paris\, where he quickly made a name designing theater sets (for Jean-Louis Barrault and later Jean-Paul Sartre) while painting and befriending other Surrealists—Robert Desnos\, Max Ernst\, René Magritte\, Paul Delvaux. But Labisse never quite fit André Breton’s official Surrealist movement. He was doing his own thing: Flemish Expressionism meets occult symbolism meets erotic mythology. He was elected to the Académie des Beaux-Arts in 1966 and kept working until he died in 1982. \n—-Curator Shauta Marsh \nResearch assistance: Louise Martin \nPart one of a four part exhibition series on the artist.
URL:https://www.bigcar.org/event/blue-blood-felix-labisses-goddesses-demons-and-the-space-between/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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